Functions of film music and sound within a genre: the revenge western.

Abstract

The music of two scenes from four revenge westerns made between 1956 and 2001 is analyzed for generic similarities possibly shared between the films. The thesis looks at how four directors and composers set similar dramatic moments to music and how each film treats elements of sound during these moments. Though the plots shared by these films are similar their usage of music and sound at two shared moments (a tragic offense and the moment of revenge or rescue) is remarkably different. The flexibility of the genre itself is discussed as well as unique aspects of each film's director and composer. Despite the differences, each film displays adherence to and detraction from principles of film music set forth by the Classical Hollywood Cinema prevalent between the 1930s and 1950s.